004-02 tracks with the UAV bug as it flies down the air shaft. This scene is built slightly differently from the usual cuts, requiring a marker to be placed into the scene to establish the movement of the character. The drawings are then keyed to track the marker.

004-06 looks a lot simpler than it is. Each layer of the wasp is separated from the antennae to the abdomen, allowing for small amounts of parallax shift that gives some additional movement. The expanded canvas allows for camera movement, and the reflections of the surrounding environment will also play off the body to varying degrees, creating even more motion over a base of holdframe elements. The wings are a randomized cycle, allowing us to stretch the length of this cut fairly far.

clean keys for grouped actions that blend with the actions in cuts 007-01 and 005-01. The keys test represent motion timing only, and not final cut length timing. Use of grouped actions from the other cuts allows all three to be composed as needed.

Flat colors and shadow layers for 012-03. Bear in mind that the final color scheme is affected greatly by composite passes in the comp phase, current colors may appear bright or off-hue. This cut is ready for composition.

009-01 builds off the action of 007-01 and 005-01, all of which show Lincoln working at his holo-interface. Here we’ve added more extreme lip movements in the second position, as well as adding new hand gestures.

The nature of these cuts (largely built from grouped actions) allows us to mix and match elements from each to create the additional variations in action needed to extend the times and even allow the cuts to be used more than once.